Limehouse Basin and Limehouse Cut: More pictures from my walk around Limehouse on on 6th January 1990. The previous post from this walk is Ratcliff Highway and Limehouse Basin – 1990.
The Limehouse Cut is London’s oldest canal, opened in 1770 to provide an easier route from the Lea Navigation, an important river for transporting grain into London from the agricultural areas to north in Hertfordshire. Used from the Bronze age and later by Viking raiders, alterations had been made to improve navigation on the River Lee since at least 1190 and was later followed by various Acts of Parliament. The first river lock in England was built on it at Waltham Abbey in 1577, but it was only the the River Lee Navigation Act 1767 that really began its modernisation.
Part of the work made under the 1767 Act when the navigation was surveyed John Smeaton was the suggestion to dig of the Limehouse Cut, allowing boats to avoid the treacherous and winding tidal lower reaches of Bow Creek on their way to the River Thames. The actual surveyor when the work began was his assistant Thomas Yeoman. It was a considerable short cut as it emerged into the river to the west of the long haul around the Isle of Dogs.
The original canal was narrow and had to be later widened and improved and it was only in the Victorian era that it was finally in something like its final state. The canal until 1968 entered directly into the Thames though Limehouse Lock in front of the row of small houses in these pictures, but it also had a basin, Limehouse Basin, at its southern end.
The first Limehouse Basin was at first simply a basin at the end of the Limehouse Cut, dug out by 1795. It had an island in it and on its bank was a a sawmill driven by a windmill, built a little earlier when sawmills were still widely thought to be illegal in England. It was attacked and the machinery destroyed by rioters – including hand-sawyers – in 1768. Restored the following year it closed around 35 years later. A lead mill opened on the island soon after and the company only ceased to exist in 1982. Victory Place is built on the site of this original Basin, and the old streets Island Row and Mill Place to its north are still there.
The Limehouse Cut was in 1854 linked to the Limehouse Basin of the Regent’s Canal which had opened in 1820 as the Limehouse Lock needed to be repaired. But this link was opposed by the boatmen from the Lee and Stort who fought a legal battle and in 1864 it was filled in and the site built on. It was not until over a hundred years later in 1968 that a new link – only 200 metres long – was made and Limehouse Lock finally closed.
The Limehouse Cut runs on a straight route through Poplar but curves around at its sourthern end. It was blocked here in 1990, probably in connection with the buildilng of the Limehouse Link tunnel between 1989 and 1993. But there was also work on the Cut around then, with the vertical guillotine gate on the north side of Britannia Bridge across the Commercial Road being removed.
Northey Street still has a bridge over the remains of the old route of the Limehouse Cut to Limehouse Lock, but all of the buildings including wharves and works on the banks of the Cut have now been replaced by modern development. The tower blocks beyond are on Oak Lane, and I think in the distance are cranes working on developments on the Isle of Dogs around Canary Wharf.
A Murky Solstice in Bethnal Green – Quite a few years earlier I’d photographed some of the panels on the south side of the Museum of Childhood next to Museum Gardens on Cambridge Heath Road.
The Grade II listed iron-framed building was originally part of the extensive museum complex in South Kensington built in South Kensington in 1856-7, but was taken down in 1865-7 when the V&A building there was extended and reassembled in Bethnal Green where it opened as Bethnal Green Museum in 1872.
Since then it has gone through a number of identities as a museum, housing agricultural products and works of art, then an art museum with a growing children’s collection, and in 1974 it became the Museum of Childhood. Renovated and extended in 2005-6 it work on this was just finishing though it had reopend when I took these pictures. It closed again in 2019 to be transformed into ‘Young V&A’.
My interest was in the mosaic panel in each bay facing the park illustrating agriculture and the arts and sciences which had been designed by F.W. Moody, the Instructor in Decorative Art at the National Art Training School and responsible for much decoration at the V&A and elsewhere in South Kensington and assembled by his female students in the South Kensington Museum mosaic class.
I’d been asked to supply a picture of these mosaics to be used in the book ‘The Romance of Bethnal Green’ by Cathy Ross, ISBN 978-1-901992-74-8 along with some of my other pictures I’d taken on film in the 1980s and 90s, but I wasn’t happy with the quality of the film image.
So after lunch on Thursday 21st December 2006 I set out for Bethnal Green to make a replacement digital image using my Nikon D200. But I hadn’t really worked out how long it would take me to get there across London and that the sunset was at 15.53. Nor that it was a rather dull day with some slight fog in the city. By the time I was on site it was decidedly gloomy.
But there was enough light for me to made a decent job of it with the digital camera, taking the colour images in this post (and more) which I later converted to black and white for publication. And after taking these pictures I took a walk up Cambridge Heath Road to the Regents Canal and made a few more pictures around there before
Here’s the paragraph I wrote at the time:
Thursday was a cold dark day, the mercury hanging on zero and grey in the air, a fog which never quite cleared. I needed just one more picture for the project on Bethnal Green and emerged from the Underground half an bour before the shortest day of the year officially turned to night. Having done what I had to do, I kept walking as it got darker still, and more lights came on.
Coal Drops and Canal Kings Cross 1989: My posts about my walk around King’s Cross led by the Greater London Industrial Archeology Society on Saturday 8th April 1989 continues. The previous post was Gasholders, Flats and the Goods Yard – Kings Cross 1989
The Coal Drops Yard was reopened to the public in 2018, 29 years after I made the pictures in this post as what TripAdvisor calls “King’s Cross’ boutique shopping and foodie hotspot“, and I went along shortly after they opened to take some photographs of the transformed site which you can see on My London Diary at Euston to Kings Cross Coal Drops. You can read more about its early history in a post by Peter Darley on the Gasholder site.
Coal was carried in railway waggons from coalfields in the Midlands and North of England to the coal drops and these facilities built in the 1850s were an early example of bulk handling of goods. The Eastern Coal Drops, together with a coal and stone basin opened in 1851 could handle 1,000 tons of coal a day. Later around 1860 a second set, the Western Coal Drops were added. Derelict for many years, parts of the Eastern Coal Drops were badly damaged by fire in 1985.
Rather than unload the coal waggons by hand, the coal drops allowed a waggon at a time to be discharged into a storage hopper below, at the bottom of which it could be fed into sacks and loaded onto the waiting horse-drawn coal carts. There was also a coal drop to allow the waggons to be discharged into barges for onward transit.
The waggons could be tipped sideways in a special rig to empty, but it was easier to use waggons which had a bottom that could be opened to simply let the coal fall into the hopper of the floor below the track.
As well as supplying coal to businesses and homes across London, the nearby gasworks would also have been a major coal user. But I imagine they would have had their own rail sidings for delivery. The gasholders have been relocated since I made these pictures, which sometimes makes it difficult to understand the geography of the area.
In 1866 a viaduct was opened across the canal from the Western Coal drops to Samuel Plimsoll’s coal yard on the south on what was then Cambridge Street (marked as Coal Shoots on the OS map. He patented an improved coal drop which treated the coal more gently and avoided much of the breaking up and dust produced by the earlier drops and was more suitable for the softer household coal he traded in. (There were also coal drops on the other side of Cambridge St, on a siding from the lines into St Pancras.) However visiting the Camley Street Natural Park now on his site shortly after it opened in 1985 I found at least in parts the ground was still more coal dust and fragments than soil. Parts of the demolished viaduct could still be seen when I photographed from the canal towpath in 1979.
Viaduct, Kings X Goods Yard, Kings Cross, Camden, 1989 89-4f-33
As well as taking waggons full of coal to the coal drops, a second track was needed on the viaducts to bring back the empty waggons, which were moved sideways using a traverser or waggon turntable. I think these had long disappeared before our visit in 1989.
This picture is I think of the viaduct for the Western Coal Drops, and the sign BERLIN BANK presumably reflects its use as a location for a film. Perhaps someone can tell me more.
Western Goods Shed, Kings X Goods Yard, Kings Cross, Camden, 1989 89-4f-34
The covered loading bay of the Western Goods shed was in rather poor condition at the south end, but was still providing cover for the loading and unloading of lorries further along. The lorries have the name ‘newsflow’, a name now in use for a number of media and news aggregators but then I think rather more physically connected with the newspaper and magazine industry, possibly for delivery of the printed papers.
Although looking rather derelict parts of the area were still in use for various purposes and I think a small piece of sculpture visible here suggests a sculptor’s studio. In the 1980s and 90s the goods yard was a popular spot for raves.
Viaduct, Kings X Goods Yard, Kings Cross, Camden, 1989 89-4f-35
We were able to wander around the area fairly freely, although there were obviously some rather dangerous areas where we could have fallen like the coal, and others where roofs or walls seemed unsafe. But our wanderings make it difficult to place the exact location of some of my pictures. I think this is the viaduct for the Eastern Coal Drops, and it clearly shows the two tracks, one for the coal drop and the closer for the return of emptied waggons. Underneath you can see the area for the hoppers and where carts would be loaded, in the picture used for parking. Across the tracks are a line of newsflow lorries.
More of my pictures from the GLIAS walk around the area in a later post.
On Saturday 3rd Novemeber I got to London earlier than anticipate and had time for a little walk before photographing the first protest I had come to cover, over the cuts to public libraries. Later I went to photograph another protest about the plans to demolish many London council estates under so-called ‘regeneration’ plans which involve demolition and rebuilding by developers with little social housing.
Euston to Kings Cross Coal Drops – Sat 3 Nov 2018
Problems on my railway journeys into London are rather common, often involving considerable delays. Last weekend a replacement bus for part of the way meant that my usually slow journey scheduled to take 35 minutes to travel 20 miles instead took an hour and a half. But on Saturday 23rd November 2018, there was something of a miracle. When I arrived at the station a train which should have arrived half an hour earlier was just pulling in and an announcement told me it would be running non-stop to Waterloo.
Where possible I like to arrive at events perhaps 10 or 15 minutes before the advertised start time make sure I don’t miss anything. Travelling across London is often a little unpredictable, with odd holdups so I usually allow plenty of time. I’d arrived at my station a few minutes early, and with the non-stop service got me to Waterloo around 25 minutes before I expected. The normal timetable schedule gives a 5 or 10 minutes slack to make it less likely that train operating company has to pay fines for late running, and without stops the journey is significantly faster. Together with an Underground train that came as I walked onto the platform I arrived at Euston with around three quarters of an hour to spare.
This gave me time for a walk to the newly opened retail development in the former King’s Cross coal drops. I’d photographed the disused coal drops many years earlier, taking pictures of the demolished bridges across the Regents Canal and the still standing drops on the north side where coal brought from the North in railway goods waggons was transferred into carts for delivery across London. At first the waggons were lifted and tipped, later waggons had opening doors in their bottoms to dischage directly in the waiting carts and lorries.
My walk also took me through Somers Town, which has some of inner London’s more interesting social housing and past the new Francis Crick Institute before reaching the canal and a new walkway to Coal Drops Yard and Granary Square, and gave some views of the gasholders relocated across the canal from Kings Cross, some of which are now filled with flats. I made my way back with just enough time to visit the toilets in St Pancras Station before going to the meeting point for the Library protest at the rear of the British Library in Midland Road.
Save Our Libraries march – British Library, Sat 3 Nov 2018
The march and rally against cuts in library services, which are a vital part of our cultural services, especially for working class schoolchildren and young people was organised by Unison and supported by PCS and Unite, but they seem to have done very little publicity and the numbers were far fewer than expected.
Unfortunately the march clashed with another event I wanted to cover and I had to leave a few minutes before it was due to start. Perhaps more joined the protest for the rally at the end of the march outside Parliament.
No Demolitions Without Permission – City Hall, London. Sat 3 Nov 2018
‘Axe the Housing Act’ had called a protest to demand an end to the demolition of council estates unless these were approved by a ballot of all residents, and for public land to be used to build more council homes rather than being turned over to developers to make huge profits from high-priced flats.
Most of those who came were from London council estates under threat of demolition by Labour London councils and speaker after speaker from estate after estate got up and spoke about the lies, evasions and often illegal activities of London Labour councils bent on demolishing their council estates.
Green Party co-leader and London Assembly’s Housing Committee chair Sian Berry
Instead of looking after their working class populations Labour councils are time and time again forcing through demolition of council estates, enabling developers to make huge profits by building flats for sale largely at market rent, with a small proportion of high rent ‘affordable’ homes and a miserably small number of homes at social rent, promoting schemes which cut by thousands the number of council homes.
Tanya Murat, Chair of Southwark Defend Council Housing
Although a new policy was about to come in to insist their should be residents ballots, London Labour Mayor Sadiq Khan had responded to this by fast-tracking 34 demolition schemes by Labour councils before it was implemented. He allowed some schemes to go forward without a ballot, and had failed to insist that all residents were allowed to take part in such ballots.
Former Lambeth Council leader and veteran Labour politician Ted Knight
Among the groups taking part in the rally were Class War and the Revolutionary Communist Group, both very much involved in campaigns across the capital on housing, and among the most effective at raising the issues involved in London’s housing. For some reason the rally organisers would not allow representatives of either of these to speak at the event, which led to a loud confrontation when Labour supporter Ted Knight came to speak. More below on this.
At the end of the rally people marched around City Hall with their banners.
Class War protest Labour Housing record – City Hall, Sat 3 Nov 2018
Whitechapel anarchist Martin Wright
Although Class War supporters were one of the larger groups taking part in the ‘No Demolitions Without Permission’ rally at City Hall they and others were denied any opportunity to speak as a part of the official rally.
Class War have been the most active group in supporting and raising the profile of campaigns in London against estate demolition mainly by London Labour councils who are responsible for the great bulk of estate sell-offs and demolition involving over 160 council estates – social cleansing on a massive scale. Among those protesting at the rally with Class War was Leigh Miller, recently illegally evicted from Gallions Point Marina under orders from the Labour Mayor of London.
Leigh Miller, recently illegally evicted from Gallions Point Marina and Lisa McKenzie hold the banner high
It was no surprise that when a prominent Labour politician got up to speak, Class War erupted, shouting him down to make clear that it was Labour who was responsible for estate demolitions. It was perhaps unfair on Ted Knight, a former Lambeth Labour leader who together with other councillors defied Thatcher and was surcharged and banned from holding public office for 5 years.
Ted Knight (right) and Martin Wright (left) shout at each other
Knight has supported Central Hill Estate residents in their fight against Lambeth Council’s plans for demolition, singing from much the same hymn sheet as Class War on housing issues. As Lambeth council’s leader he was clear that “Nothing is too good for the working classes” and estates such as Central Hill reflect this. And there was a little of old scores in the verbal attack on him by Whitechapel anarchist Martin Wright.
Finally at the end of the rally, Leigh Miller did get a chance to speak.
As a number of those estate residents allowed to speak at the rally pointed out, homes will only be saved if people become more militant and engage in the kind of direct actions which Class War advocates – and not by rallies like today’s outside a closed City Hall.
Class War stood to one side at the end of the rally when most of the rest taking part marched around the empty offices, they were calling for a rather different revolution.
Today, 21 December 2020 is the Winter Solstice, when in London we have only 7 hours 49 minutes and 41 seconds (or 42 seconds) between sunrise at 8.03 am and sunset at 15.53 pm. It’s a depressing time of year for photographers who work outdoors, though we have now passed the earliest sunset which was on 12 December at 15.51pm. Sunrise continues to get later until almost the end of the month, but at 8.06am I’m usually still eating my breakfast rather than wanting to take pictures.
I had forgotten when I began this piece what it was that dragged me away from the fireside and out to take pictures on 21st December 2006, but I had been working on a set of pictures for the book by Cathy Ross, ‘The Romance of Bethnal Green‘. As my text below makes clear, although most of my pictures which feature in it (and I get a credit on the cover and title page) are from the 1980s and 90s, I think she had wanted a picture of the frieze on the Bethnal Green Museum (a double page black and white spread on p36-7) and I had gone up to take this, but I also took a short walk around the area and made a few more pictures.
You can see some of these in My London Diary, beginning towards the bottom of the page for December 2006 under the title Bethnal Green Solstice. In the colum to the left is the following text:
thursday was a cold dark day, the mercury hanging on zero and grey in the air, a fog which never quite cleared. i needed just one more picture for the project on bethnal green and emerged from the underground half an bour before the shortest day of the year officially turned to night. having done what i had to do, i kept walking as it got darker still, and more lights came on.
My London Diary then was a rather more tentative and arty production , even less polished than in later years, and I then eschewed capitalisation, writing in a rather less formal style.
There are 13 panels along the side of the museum facing the park, each depicting a rural pasttime, and I photographed thoroughly in the dying light in various combinations and some singly. I was working by then with a Nikon D200, with a much improved viewfinder over the D100 I’d started with and which gave 10Mp files. Later when I got home I chose the image above – with ‘Picking Apples’ and ‘Fishing’ – and converted it to black and white for publication, cropping it slightly at the right to fit the double page.
Having taken the necessary image, I walked north up Cambridge Heath Road to the canal, taking a few pictures as I went and on my way back, including a couple more of the museum. The light had been dim when I was photographing the frieze, but it was now definitely dark, with most of the lighting coming from the street lights. I was soon back on the train having spent around an hour on the streets taking pictures.
These pictures were all made at ISO 800, though on at least one the shutter speed was only 1/13s. Even at this relatively low speed some have a high degree of noise. They may have been underexposed but I think that comparing them to pictures taken with the D750 or D810 shows the great advance in sensor quality over the past decade or so. And I suspect re-editing the files in Lightroom now would show the improvements made in software too. The noise isn’t (at least to me) objectionable, any more than the grain in a black and white film image would be, but it is noticeable.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
This view will be familiar to the millions of people who flock to Camden Lock, now one of London’s main tourist attractions. The Gilbey brothers who had volunteered to go abroad to work in a hospital during the Crimean War returned to London and set up a wine and spirit business in 1857. As wines from France and elsewhere on the continent had to pay heavy duties they successfully promoted wines from the British Empire, particularly the Cape. The duties on continental wines were lowered in 1861 and Gilbey’s sold those as well, supplying the off-licences which grocers had been allowed to open by Gladstone in 1860.
Gilbey House, Regents Canal, Camden, 1987
They added other drinks, sherry, port, whisky and in 1872 Gilbey’sLondon Dry Gin which made their name familiar in Britain and throughout the Empire. They built their gin distillery in Camden and soon had a large area of offices and stores around Oval Rd. But in 1962, following various mergers, Gilbey’s left Camden and moved to Harlow New Town.
Popbeat Records, Stucley Place, Camden, 1987
Stucley Place is just a few yards from the now often crowded Camden High St, just behind The Elephant’s Head. I think it had already become a rather trendy area by 1987, a stone’s throw from the TV AM studios in Hawley Crescent.
TV AM, Hawley Crescent, Camden, 1987
This was the street side of the building, probably rather better known for the eggs in egg cups on the canal side of the former Henlys building. To me it seemed peculiarly tacky.
Bridge, Regents Canal, Camden, 1987
The bridge and locks are still there, and are now pretty much tourist central, and even back in 1987 there are still quite a few people visible if you look closely. But it might now be difficult to get just 3 pairs of people actually on the bridge.
These locks held up the opening of the canal for several years as originally they were built in 1814 as boat lifts to conserve water. Sir William Congreve, who had developed many novel ideas, but was best known for the rockets he made for military use, designed a hydro-pneumatic canal lift with twin caissons. The canal company modified his designs and they were built by Henry Maudslay and Co. The lifts worked for a few months, though they were difficult to operate, but soon failed when they were handed over to the canal company. Following angry arguments with the three parties each blaming the others, the Regent’s Canal company decided to replace them with the conventional locks now present.
Undoubtedly had they been built to the original designs there would have been fewer problems, but the manufacturing tolerances and sealing materials of the day would have made them unreliable and needed frequent maintenance. It was a great idea but many years ahead of its time.
The Cleveland, Post Office Tower, Cleveland St, Fitzrovia, Westminster, Camden, 1987
Two rather curious buildings in the same picture. The Cleveland Pub later became a restaurant and then a bar, remaining in use until around 2015 and was demolished I think in 2019. The Post Office Tower is still there.
Langham Works, Great Portland St, Westminster, 1987
The 13.8 acres of the Langham Estate stretch from the Euston Road to Oxford St in an area property developers call ‘Noho’, but everyone else knows as Fitzrovia. In 2008 when billionaire tax exiles the Candy brothers named the block of flats they were developing on the former Middlesex Hospital site Noho Square, local residents responded with a “say no to Noho” petition.
Although my contact sheet places this building on Great Portland St, I cannot now find it on the street. It may have been demolished, or possibly I had wandered down a side street and not noted the fact. Please let me know if you recognise it somewhere.
University of Westminster, New Cavendish St, Westminster, 1987
In 1970 the Regent Street Polytechnic became the Polytechnic of Central London, one of 30 new polytechnics formed in 1970 awarding degrees from the Council of National Academic Awards. It became the University of Westminster in 1992. This building is still at 115 Cavendish St, though it has added an extra floor since I took this picture in 1987. In the background of this picture you can see the Post Office Tower.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
1986 was the year I began to photograph London in depth, and the album reflects this, with 1370 black and white photographs, a fraction of the number I took that year. The hundred on page 4 are from the boroughs of Hackney and Tower Hamlets and include pictures from Dalston, Shoreditch, Hackney, Bethnal Green, Wapping, Shadwell, Limehouse, Whitechapel and other parts east of the city. There is just the odd image from elsewhere in London.
Cyprus St, Bethnal Green
Unlike in some earlier years the routes for my walks around the area were carefully planned, with research from a number of published sources, though information was much less readily available than now before the days of the world wide web. Of course I didn’t always stick to my planned routes, but I did carry a notebook to write down where I actually went and even sometimes some details of what I was photographing.
Hessel St, Whitechapel
One of my major resources was of course maps, both new and old, not just for the streets but also for the other information included on them. Some marked industrial areas in brown, most showed churches and public buildings and some gave names of various features. The invaluable series of reprints of old 1:2500 OS maps was begun by Alan Godfrey in 1983, but few were available in 1986. I now have a very large collection.
Kingsland Basin
My aim was to not to walk along every street (as the woman who produced the London A-Z was sometimes said to have done) but at least to look down nearly all of them, and to photograph all buildings of interest as well as other things I found on my journeys. Later when I had bought a scanner I produced enlarged versions of the A-Z pages, printing them on a black and white laser printer and used highlighter pen after I came home to mark where I had walked. These both showed me any areas I had missed and helped me, together with the notebooks, to mark on the contact sheets where the pictures were taken.
Nuttal St, Hackney
I mostly travelled by train or underground so often several walks started from a particular station, and perhaps along the same streets close to them. There were also some areas that particularly interested me, either for simple visual reasons or because they were obviously changing, to which I returned.
I’ve posted some of the pictures on this page previously on >Re:PHOTO and I’ve tried to find others to put on this post. You can see all of the pictures – 100 on page 4 – on Flickr – where you can view them larger than on here – by clicking on the link or the image below.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
For various reasons it took rather longer than expected to build the Regent’s Canal around the north of London, joining the Grand Union Canal Paddington Arm to the River Thames at Limehouse, but the full length was finally opened in 1820, two hundred years ago this year.
Having realised this anniversary was approaching, early in 2019 I began a series of pictures to celebrate it, and had been intending to present these in a small show I was to have along with an artist friend, Hilary Rosen, at the Street Gallery in University College Hospital London.
The show was to have opened on 19th March this year, but a few days before we realised that it would be impossible because of the Coronavirus pandemic. We had to cancel the opening, but then it became clear to us that it would not be sensible to invite people to go to a hospital to look at an exhibition, and told the gallery that it had to be postponed. A few days later, the government realised they had to do something too, and on March 23 imposed the lockdown.
I’d picked just a dozen images for this show, but had taken hundreds if not thousands in preparation. I’d had the pictures printed and had spent a day mounting and framing them on the Sunday before the show was to start, but simply had to take them back up into my loft rather than to be hung at the gallery.
In making my selection I’d obviously wanted to show what I thought were the best images, but also to show work along the length of the canal from its start at Little Venice to its end at Regent’s Canal Dock (now Limehouse Dock marina.) My preliminary selection included several images from some of the more interesting areas, as well as a few from other places that didn’t make the final cut.
Rather than go back and make a new selection for an on-line presentation I’ve decided to simply put the 42 from my preliminary selection on-line, and to do so on Flickr, where they are displayed at a higher resolution than on Facebook or my own web site (where I think most or all have already appeared at smaller size.)
The images appear in two different aspect ratios, though they all have more or less the same horizontal angle of view, roughly equivalent to the full human binocular field of clear vision. Some are cropped at top and bottom, enabling me to move the horizon away from the centre line and to avoid the more extreme curvature at the edges which the necessary non-rectilinear perspective needed for such extreme angles of view dictates.
C-type prints from the exhibition were to be on sale unframed and printed with images 42×22 cm or 36×24 cm (and a white border) at £200. For this online show they can be ordered direct from 6me at half this price, £100, including postage and packing to the UK. Overseas orders will cost a little more.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
If you are in London next month you are invited to the private view of the exhibition ‘2020 Vision – Vistas and Views’ at The Street Gallery, University College Hospital, 235 Euston Road, London, NW1 2BU. The gallery is along an area at the front of the hospital – turn right immediately you go through the main entrance – and will be on show until 22nd April 2020.
As well as paintings by Hilary Rosen the show includes a dozen pictures from a project I’ve been working on when I’ve had time over the past year, ‘Regents Canal 200‘.
The Regent’s Canal, which runs from Little Venice on the Paddington Arm of the Grand Union Canal to Limehouse Dock was completed and opened in 1820, 200 years ago this year. There are other, more official, celebrations later in the year but I began this project in complete ignorance of these.
I’ve photographed the Regent’s Canal occasionally over the years since the late 1970s, and have hundreds or probably thousands of pictures from it, both in black and white and colour. But since space is limited in the gallery I will only be showing a small selection of the several hundred colour panoramas I’ve made over the past year.
Please RSVP to Laura Bradshaw – laura.bradshaw7@nhs.net 020 3447 7146 – though you will be welcome anyway, and Hilary and I will be pleased to see you there. If you want to print out a copy of the invitation you can open it as a PDF.
200 years ago the Regent’s Canal was opened. In some respects it was like HS2 today, cutting travel times, though for goods, providing a more direct link between London’s Docks and the canal system which served Birmingham and much of the rest of England. Perhaps more importantly it brought coal and building materials into the centre of London at City Road Basin, and other basins and Samuel Plimsoll’s (remembered for his line) coal drops north of King’s Cross.
And like HS2 it came in late (though at the moment it is still doubtful if HS2 will come in at all, and it certainly will never deliver what was promised.)
The canal was first proposed in 1802, but only got Parliamentary approval in 1812, after it had been adopted by the Prince Regent (later George IV) and John Nash as a part of their scheme for redeveloping Regent’s Park.
Like HS2, the canal had its controversies and problems. In 1815 Thomas Homer, who had first proposed the canal and remained in charge with Nash although neither knew anything about building canals, was found to have stolen company funds and was sentenced to transportation (though it appears the sentence was never carried out.) The first length of the canal, from Little Venice to Camden was completed and opened on the birthday of the Prince Regent in August 1816, but there wasn’t enough money to complete the rest.
The government came to the rescue with the Poor Employment Act of 1817, designed to give work to those unemployed after the end of the war against Napoleon, which provided cheap labour so the scheme could continue.
There were technical problems too, particularly with at Hampstead Road, where a hydro-pneumatic boat lift had been built to an innovative design by William Congreve (better known for his military rockets.) Designed to save water, as the canal had problems with water supply, although the design worked when first installed it quickly broke down when handed over to the canal company, possibly because the materials then available for pneumatic seals were not up to prolonged use. There was a lengthy and acrimonious dispute between the inventor and the canal company, who eventually replaced the lift with a two chamber conventional lock as used elsewhere on the canal.
Also like HS2, there were huge cost increases. The canal eventually cost £772,000 which was twice the original estimate.
I’d begun my walk at Camden Road station, walking from there through the Maiden Lane estate and new developments to York Way where I met a colleague with whom I will be having an exhibition in March 2020. My contribution to the joint show will be a set of around a dozen pictures commemorating the canal anniversary. We made our way together along the towpath to Kentish Town Rd, with several stops where she sat down to sketch and I wandered around making photographs. After leaving her I walked on to Cumberland Basin before returning to Camden Road station.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
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